The questions and my answers:

With Béliza in Buzios, Brazil.

I've been invited by Béliza Mendes to participate in the Monday Around the World Blog Hop.

Béliza and I first met and the Urban Sketchers Symposium in Barcelona and then again at last year's symposium in Paraty. I was very fortunate to spend a few days with her prior to the symposium exploring and sketching another Brazilian town, which was a great way to warm up for the intensive sketching that occurs at the symposiums.

How does Around the World Blog Hop work?

Every week someone is nominated to answer a few questions about their creative process, post those answers on the following Monday and nominate someone else to do the same.

Click on any image to enlarge it.

What am I working on?

This year is turning out to be a time of experimentation for me. I have been employed as an art tutor for the charity WEA and my first course this year is back at the homeless café Sanctus teaching Mixed Media. As this is not my area of expertise I have been experimenting with texture, collage etc.

Recently, I took a workshop in etching, which I haven't done since art college, and I can't wait to get back in the print workshop as my head is full of ideas. You can read about the workshop here.

How does my work differ from others of its genre?

I am a pen and ink artist specialising in drawings of buildings, landscapes, boats, portraits and more. Very few people work primarily in black and white like I do nor with the detail and interpretation that I bring to a subject.

This is an example, Al Minsefah Doorway, which is part of my popular Decay series drawings. More here: Decay Series.

Al Minsefah Doorway. 2013

Into the Shadows. 2014

Why do I create what I do?

I have always drawn and from an early age I was aware of a pen drawing of my grandmother's farm hung in my parents' house and I wanted to be able to copy it. It was at art college that I really focused on drawing with all types of ink pens. I mainly had to teach myself the techniques through reading art books and emulating artists I liked as the majority of my lecturers were painters. A college printing course, where I first learnt to etch and yearned to be the next Albrecht Dürer, was a great influence too, but at the time I found the process too slow and liked the relative immediacy of drawing with pen & ink better.

I choose subjects that appeal to me and themes have repeated throughout my career such as decaying buildings, wood and rocks, which all lend themselves well to the medium. Travel and culture is a big part of my life, and these are also reflected in my drawing subjects.

However, my world is not only black and white. As an urban sketcher, I often add watercolours to my on-location sketches.

Sketched on location at Souq Waqif, Doha.

How does my creative process work?I always have a sketchbook near me, although I do not sketch daily, I use it and my phone to record things that catch my eye, from the shadows on trees on a dogwalk to the interaction between people in a coffee shop. From those on-location sketches and/or photos I them compose a drawing, chosing the focal point, what's needed to give context, what to leave in, move position, or take out. Each drawing is not a copy of a single image but an amalgamation. For example,

Sketching on-location at Muscat Festival.

One of many reference photos taken.

The Woodsman. Final drawing.

That brings me to the end of this meme's questions. If you have any comments, or further questions, please leave them below.

The day after the symposium, the amazing Brazilian sketching group, Croquis Urbanos Curitiba, had a arranged a last sketch meet. I finished my concertina sketchbook at the meeting point then walked around the corner to sketch the largestest of Paraty's churches, Igreja Nossa Senhora do Remédios, which had been decked out in banners for its festival. Despite my wibbly perspective I'm pleased with the result.

More goodbyes as the Croquis Urbanos Curitiba left to catch their flights, and I went to sketch more of Paraty. First up the church, Capela Nossa Senhora das Dores, which I didn't draw on Norberto's workshop.

Capela Nossa Senhora das Dores

Next, I made a study of the low tide.

Mud. Super5 and watercolour in Moleskin

Finishing the day where I started, I drew the people gathering for mass in the church of Nossa Senhora do Remédios.

Sadly, I was leaving Paraty and Brazil the next day. I took a pre-breakfast walk, savouring the sunrise.

Adeus Paraty

After breakfast in the pousada, I finally got around to sketching their amazing entranceway full of plants as my last Paraty sketch.

Pousado do Sono

However, I made a last, last sketch whilst waiting for the Rio bus.

That brings me to the end of my Brazilian adventure. Any thoughts or comments, please leave them below. Thank you.

For the last workshop of the symposium, I took Norberto Durantes' workshop Line Flow/Live Spot as I really enjoyed, and learnt a lot, last year. A bonus was not only the sun was out but I got to draw with Kumi and Simone, so it was a great morning.

Line flow people.

Exercise 2 hmmm

The last exercise was to add a pop of colour to our line work. Everyone sat and drew the church, but I turned my back and tried to capture the sandbanks. A horse & cart literally trotted into my view so I grabbed a pencil and added it (minus the man loading sand). Out of time, I was undecided about the pop of colour and added the yellow back in the UK.

Great informal photo of our workshop crit. by Kumi

After lunch, I did Richard Alomar's activity Unfolding a sketching story, which was really inspiring and fun. I used the Laloran concertina sketchbook, but couldn't complete it in the allocated time, so did so on Sunday morning. Don't forget to click on the image to see it larger in lightbox.

Rua do Comercio

1st page detail. (more on flick www.flickr.com/photos/travelingsuep )

After the activity it was time to sketch and gather for the final group photo in Matriz Square. I'm guilty of not sketching, but chatting to everyone I could and taking photos with friends. There was just time for a Caipirinha before the closing reception, which in true Brazilian style ended up with dancing.

I don't think any of us wanted the symposium to end and I joined a group for icecreams, but didn't go on for the late night drinks.

Icecream. Photo by Liz

I was sad the symposium was over, but there was still more drawing to be done the next day... but that's for another post.

Friday had a different format this year, which I liked. A workshop in the morning then lots of activities or talks to choose from in the afternoon. I had chosen Matthew Brehm's workshop as I admire his watercolours and it was on Sketching Fundamentals. It started well, but I got off with the wrong attitude on the first exercise when we where sent to do something and I spied 2 boys up a tree... I quickly sketched them then tried to add in what I as supposed to do. (sorry can't get decent scan or photo but if you click on it, it opens in lightbox and is clearer)

We did a couple more exercises and then Matt gave a long demo. It was interesting, but I was itching to do more sketches and clock watched until the end of the workshop. I am pleased with my portrait of João drawn as he was listening.

Pencil in casa do artista sketchbook.

After a quick lunch break with the lovely Orling (drawingbythepound), I went to capture my own version of the King tide in the streets. (top) Next, it was back to the Casa do Cultura for talks by Simone Ridyard and then Gaby Campanario. I wish Gaby's talk had been longer as it was so informative - sketch reportage is something I want to get into - and he has a great story telling technique. Night fell quickly in Paraty, so then it was on to a demo by the brilliant Brazilian artist Ivonesyo Ramos. He is very charismatic and despite some drops of rain did an impressive nightime painting, which I bought in the silent auction.

Ivonesyo Ramos painting in the dark.

Finally, I went to a talk/demo by the sponsors PEN.UP where I did my first ever digital sketch on a tablet. it wasn't great, but I can see future experiments with this medium (when I buy a tablet).

All in all it wasn't the my most productive day on my part, but I got lots from it. Next post is the final day of the symposium...

Having attended last year's symposium, I was not as nervous before my first workshop, but still at little bit. It was with Paul Heaston, whose work I really admire. Paul had almost finished his demo when the heavens opened. We took over a nearby café/restaurant and got out our new sketchbooks given by the Brazilian sponsor: casa do artista

The workshop was on drawing wide-angle perspectives, and whilst I understood Paul's great handouts and explanations, unlike normal perspective I couldn't "see" it. Hence, among many errors my pad and and feet are too small in this first attempt.

With a break in the rain, I went outside for my 2nd drawing, and whilst I had to take cover twice from more showers, I am pleased with the result. (Top). I really enjoyed this workshop and (with cheat sheets in hand) shall try this method again.

After a too short lunch break, it was on to Liz Steel's workshop "Feeling the edges – a tactile approach to sketching architecture". Despite the freezing cold, the wind was icy cold, and being cut off by an amazing full-moon tide (I believe they are called King tides), which flood the streets of Paraty. It was very interesting and fun. We did lots of mark making and an exercise which involved careful measurement of proportions, before we could then take a more tactile approach.

Surrounded by the tide!

How many windows??? An exercise in Liz's workshop

The last exercise. Photos by Liz

In the brief Liz said "Trusting your own personal response to a building is far more important when sketching architecture than achieving absolutely accurate proportions or perfect perspective", but I seem to have lost the point when working on my final drawing. I'll blame the cold.

At the end of the workshop.

Looking at the sketch later in the Pousada, I added the sky, then colour in an attempt to get something nearer the aim of the workshop - should have left it alone, I think. Oh well, it's all about learning.

Heading back for more clothes prior to dinner, I heard drumming and went to investigate. There was a drum class in a building and I stood in the doorway and sketched - my own personal response :) I am starting to doubt using the urban sketcher title, as I do tend to draw people and objects without their setting. I guess that's something to think about as I always struggle with the situational part of people sketching.

By the time the drumming stopped, it was time to meet the others for dinner, but couldn't find them. Luckily I ran into Omar and joined him and Norberto at Quintal Verde. I started the sketch below, but a group of people came and sat blocking my view. Later, we were joined by Rita, which is one benefit of a smaller location in that you could normally find someone to eat or drink with.

Super5 pen

So that was all from the Thursday. Friday was another full day, which I will leave to my next post.

After the long, long bus ride I arrived in Paraty at 6pm. At 8pm I joined Brazilian sketcher, Flávio Ricardo, in sketching a theatrical performance of Paraty's history. Afterwards, I discovered 5 other urbansketchers had been drawing in the dark. What a great way to start the symposium.

Sketching in the dark.

The next morning I had to find an atm and walked past this lovely yard, which I wanted to sketch, but took a photo until I could get back,which I sadly didn't :(

Money issues resolved, I headed into the old town of Paraty to explore. The white horse of the photo became my 1st subject. I prefer to draw animals in pencil (I know I'm always sketching Degas in ink but... I'm an artist) unfortunately the blue pencil I grabbed won't scan or photograph well.

1st Paraty sketch

NB: ﻿﻿Don't forget you can click on any image to view it in lightbox.﻿﻿﻿The poor horse had it's ears back most of the time as it seemed unhappy with where it was stood, except in the photo. Moving on I turned the corner and found a whole load of sketchers. (hmm I wonder what the collective noun is as it's a misbelief of painters and a colony/enclave of artists, but what about sketchers? Any suggestions please leave it in the comments below). Despite being happy with my horse sketch, I was very slow to start sketching, catching up with friends first, and the perspective is very off due to my lack of concentration. Still, it was fun to be sketching in a group already.

Pousado do Sandi

Photo by symposium sponsor PEN.UP

Then it was time for tea with Liz. See her amazing tea sketches on her blog: www.lizsteel.com Liz was the only one to sketch whilst the rest of us chatted, drank our tea and shared sketchbooks.

Photo from Liz Steel

Finally, it was time to register for the symposium. Last year we registered the day the workshops started, but this was a great change, one I hope is continued in future symposiums, and was followed by a sketchwalk. It was quite cold and overcast at the location and I joined some of the Croquis Urbanos - Curitiba who had sensibly found a bar with some shelter to sketch in.

Testing out the new Super5 pen.

After an aborted building attempt (above), I started to sketch the sketchers in Refúgio Restaurant. Later that evening I continued in Café Pingado.

The first Sketchwalk sketchers. Can you see me?

Don't forget to leave suggestions for the collective noun of sketchers.

After Rio, with fellow urban sketcher Béliza, I travelled to the far end of the state to the resort area of Armação dos Búzios. (You can read Béliza's account here: Goodbye jetlag). We decided to explore with a mini-sketchcrawl starting at breakfast in a delightful café overlooking the beach. Whilst sipping freshly squeezed orange juice and munching on croistants we set to painting the scene. The boats were so colourful they cried out to be painted. (Please click on images to see a large version)After breakfast, we wandered along the seafront and stopped near a couple of sculptures, which conveniently were near both shade and seats. Even having someone to sketch with, I struggled all day to draw taking ages to settle and decide on subjects.Whilst my friend started her second sketch in that location, I finally made a poor attempt to capture a blue building nearby.

A bit further on, we stopped for a drink, and I quickly painted (with no under-drawing) the couple sat in front of us.

Having wandered around, my final sketch of the day was trying to capture the hews of a nearby tree and the yacht club beyond, but it failed badly.

On our second day, we took a boat trip. Even thought the water was cold (it is winter in Brazil) I swam at one of the bays we stopped at, but chose to stay warm and dry at the next one and tried to capture the turquoise sea of Ossos bay. (sorry the scan has changed the colour)

The following day, we took buses the other end of the state, massively delayed due to the Tour do Rio and I did this last sketch staring out of the bus window, not moving through Angra Dos Reis.

Part 1: Rio sketches

When I'm stressed I find it dificult to draw, even sketch, and my default creative outlet reverts to photography. As many of you know from following me on facebook (www.facebook.com/suepownallartist), I recently went to Brazil for the 5th Urban Sketchers Symposium. Looking at the posts now appearing, I am jealous of the sketching others have done in that beautiful country. Whilst I had a fabulous time, both in the week preceeding the symposium and at the symposium, I am not very happy with my sketches... obviously workshop sketches are experimentations and are not expected to be great yet... it would be nice. I'm very pleased with my photos especially Jump, which I took in Rio's Botanical Gardens and the photo of Cristo Redentor (above).

Jump, Jardim Botânico.

My holiday started in Rio and I based myself in the Santa Teresa district, which I explored thoroughly, but it wasn't until the next day when I went to Pão de Açúcar (Sugarloaf mountain), after a diversion in the the Centro and the Brazilian collection in the Museu Nacional de belas Artes (due to missing a bus stop, but that's a whole different story) that I put down my camera and picked up a pen... when I got back to the bottom. Everywhere I went in Rio, there were street vendors and I wanted to capture this one at the base of the mountain. The customer is a composite person and I wish I could delete her. oh well

The following day, I went to the Botanical Gardens. Whilst I spent 3 hours in the gardens, this was the only sketch I did. I think it is a variety of Breadfruit / fruta pão, pão de massa in Portuguese.

Artocarpus altilis, Jardim Botânico

Watercolouring in situ

From the gardens I had a walk alongside the Rodrigo de Freitas Lagoon then caught a bus, deliberately, to Centro and the Centro Cultural Banco do Brasil. I saw an exhibition by Brasilian artist Milton Machado Cabeça and had a lovely cuppa before having a wander around. The old pier supports caught my eye, but, as I'd been told not to be in the area in the evening, I had to sketch quickly with the sunsetting.

Estação das Barcas

On my last day in Rio I had to go to Corcovado and see Cristo Redentor (Christ the Redeemer). I made plans to meet fellow urban sketchers Jenny and Birgit, but due to train schedules we missed each other. I was up there quite early, yet it was still very busy. I found a space at the side to sit and paint. Whilst I was disappointed not to be sketching with the others, I needed the motivation, I am pleased with my painting.

Cristo Redentor

﻿﻿So that's the first part of my trip. What do you think so far?﻿

About me

I am a nomadic artist travelling the world for inspiration. Here, I publish my sketchbook work alongside my new finished pieces.